I find it fascinating that in my opinion there are only eight basic rhythmic figures in common time.
1. quarter - quarter - quarter - quarter
2. quarter - quarter - half--------------
3. half ----------------quarter - quarter
4. quarter - half---------------- quarter
5. half----------------- half-------------
6. dotted half-------------------quarter
7. quarter - dotted half----------------
8. whole--------------------------------
Once a student has been able to feel these rhythm proportions as well as read, write and play them, they can make the next step to see that the same combinations can be found when the common denominator is eight notes or sixteenth notes.
The trick for the teacher is to get them to tap the beat while clapping the rhythm. One option is to have half the class tap the beat while the other taps the rhythm and then change parts. When they really get the hang of it, the can count the beat while strumming the rhythm on the guitar. There are lots of creative variation that you may be able to think of.
The main point is to make rhythm reading as simple as possible and to learn as quickly as possible.
By teaching these eight proportions, my students seem to grasp the idea of "reading figures at sight"
more quickly than other methods I have tried.
The final step is to teach ties and rests. Nonetheless, the eight rhythm figures are still the foundation of music in common time.
Saturday, November 22, 2014
Silent Music Reading
What may you ask is "silent music reading?" It is the ability of students to enhance their compression and to develop fluency without the guitar in their hands.
Here is how it works. Students are given a piece of music and a reference sheet that states the names of the notes and on which fret/string they are located. For example low C is located at 3/5 (third fret/fifth string). The goal is for students to place the alphabet letters and the note location on the paper at a rate of one note per second. Put another way, students eventually should be able to tap their foot and enter the letters in real-time, and later the frets in real time, hence silent reading. There is one more part - the students next need to insert tiny arrows between the notes indicating if the music is ascending or descending. If the the music moves by a third (skip) they write "sk" above the arrow, if the music moves by an interval larger than a skip (leap) they should include an 'L" above the arrow. Once students have completed this "pre-reading" process that proves their "comprehension" then they can learn the piece much faster than by other methods I have tried.
Important - this process must be practiced over and over 100 times until the analysis is completely automatic. At that point this process can be removed.
Important - the process of reading music is a misnomer. The students should learn the music so that it is "mostly memorized" measure by measure. Therefore the music serves as a reminder more than something that is read at sight.
Here is how it works. Students are given a piece of music and a reference sheet that states the names of the notes and on which fret/string they are located. For example low C is located at 3/5 (third fret/fifth string). The goal is for students to place the alphabet letters and the note location on the paper at a rate of one note per second. Put another way, students eventually should be able to tap their foot and enter the letters in real-time, and later the frets in real time, hence silent reading. There is one more part - the students next need to insert tiny arrows between the notes indicating if the music is ascending or descending. If the the music moves by a third (skip) they write "sk" above the arrow, if the music moves by an interval larger than a skip (leap) they should include an 'L" above the arrow. Once students have completed this "pre-reading" process that proves their "comprehension" then they can learn the piece much faster than by other methods I have tried.
Important - this process must be practiced over and over 100 times until the analysis is completely automatic. At that point this process can be removed.
Important - the process of reading music is a misnomer. The students should learn the music so that it is "mostly memorized" measure by measure. Therefore the music serves as a reminder more than something that is read at sight.
Saturday, March 29, 2008
Teaching Classroom Guitar Workshop
Steve... your guitar workshop this past summer saved my life! I never envisioned teaching classroom guitar and your class helped me get past the anxieties. One of the great blessings is seeing students who would normally not associate together in a social setting outside of class, do so here. It is rewarding to hear that students "came to school that day because of guitar class." Rock on!
Friday, March 28, 2008
Reaching at Risk Students
I wish that I could claim 100% "success" with difficult students.
Unfortunately, I do not think that 100% success, in the traditional proficiency/academic sense, is possible. I do feel that 100% success is possible if we redefine success.
1) all students expand their appreciation and enjoyment of music
2) all students have a positive view of music educators.
If we are open to the National Standards for Music Education it is possible to view "guitar class" as a "general music class" that happens to use the guitar as the primary vehicle for learning. Expanding the view of guitar class this way opens up possibilities for the educator to reach student who for physical, cognitive or emotional reasons will not "succeed" on the guitar.
There are numerous reasons for students who are disruptive, non-engaged, or unable to perform up to proficiency level. Some students have not developed mentally, physically or emotionally to succeed with guitar proficiency skill... but, they are interested in, and enjoy music. I believe there is a place for these students in guitar class. Even for the best musicians, at the beginning of their journey, there is a period of awkwardness. The instructor can help the student to move through this awkward period is by strongly encouraging self-acceptance and demonstrating respect and interest in the student as a whole person.
At my school, guitar class is part of a strategy for keeping students in school who might be at risk of dropping out. We are encouraged to practice differentiated educational techniques to serve the students' needs. I would recommend visiting with your principal to determine and explain the potential scope of the class.
In the field of music there are opportunities for people with many different talents. If guitar class is a "general music class" then there may be room for singers, percussionists, music historians, business people and so forth. One way to explore the breadth of music is to have a reading resource area in your room. I have a reading nook for students to sit that has piles of guitar magazines and books. If students don't have their guitar for a day or they need to be moved for discipline reasons, the reading nook provides a good solution.
In a disruptive situation (after one warning) I might say something like, "I am completely committed to the success everyone in this class and for the good of everyone you should move to the reading nook. I think you'll enjoy it. This is not a punishment, but an investment in your potential."
The following list are some short suggestions based on strategies that I have used.
1. Use The Montessori Approach - If you have access to practice rooms find a way for students to explore and experiment independently and in small groups. Encourage them to come to you as their consultant. This is student/up approach, in contrast to the teacher/down approach. You provide the space, encouragement, materials, and challenge questions - and the students do what they do best....learn through play. In some cases, students will learn better from their peers than from you. Work to develop student mentors and put them to work gaining teaching experience. This is a lesson learned from Montessori Education. If you don't have practice rooms, explore the possibility of the hallway, outdoors or other school space. These suggestions will not work with immature students, so move the mature students to the practice rooms and keep the immature ones withing arms reach.
2. Put students in charge of their grades - I tell my students that I grade on the low side, but that they are empowered to raise their grade at any time by performing for me music of their choice. The goal is to engage them on their terms. Sometimes the humorous western axiom "always ride a horse in the direction it's going" is appropriate.
3. Teach students the power of self-affirmation. With every test, my student not only give themselves a grade, but are required to write a self affirmation. I teach them the power of affirmation and provide them with some. I affirm that: they each are a miracle, they each are loved by me, they each make the school a better place, they each have a sparkle in their eye. Other good examples are: I am improving day by day, I will succeed, etc. I always enjoy reading the self-affirmations.
4. Provide reading and writing opportunities. Some students who can't play are excellent at reading and writing about guitar. Some who are great players have problems writing. Be encouraging to both groups. Provide art and drawing opportunities as a way to objectify ideas.
5. Communicate respect for the student and interviewing them interests and following their activities in sports, hobbies or other activities. Encourage students to contribute to class by bringing examples of music and suggestions. Beware - some suggestions are merely and attempt to avoid your curriculum. Don't fall for it.
6. Talk with parents, other teachers, guidance counselors and special education experts. Have a meeting with the student and other adults to demonstrate your unwavering commitment to developing their potential and respecting their individuality.
7. Do not be afraid to establish and maintain authority from day one. Remember the domino theory and never let things slide. Students must know that you are in charge and will assert authority. This includes the formal discipline referral to the principal/parent/guidance counselor. Use your guidance counselors for extra influence. Let the students know with out a doubt that you, not they, are in charge of the classroom.
8. Teach and expect "Peer Enforced Discipline". My students know that they have an important role in creating the classroom climate. They are expected not only to mentor skills but to defend their right to an education free from disruption.
9. Confront and Scold - At appropriate times, scold the student. Ironically, I have found that scolding can actually increase my bond with the student. Explicitly point out self-centeredness, immaturity, lack of respect for the teacher's efforts and other negative behaviors. Afterwards, one student described me like and uncle. He knew he was loved by my willingness to confront him.
10. Be Consistent- Don't let up, and don't accept disruptions. Explain that this is not out of mean-ness but out of unrelenting dedication to the student's success.
11. Use Proximity - Be able to move freely throughout the room. Sit on an elevated chair. Speak with a microphone. Stand tall and with authoritative posture (it's good exercise). Anticipate problems and speak in advance with students directly about your concern.
12. Provide a written list of expectations, behavior and procedures. Have students grade themselves on a scale of 1-4 on how well they are meeting these expectations. Describe negative personality traits such as being self-centered, disrespectful and immaturity. High school students hate the idea of being immature. Talk about and build on the idea of maturity. I can mail you a copy of my classroom management written tests if you send me your address.
13. Be Prepared - Let students know how the learning curve works and how you are guiding them. Minimize stopping and starting. Say "stop, mute and and rest" at the end of activities. Have a written lesson plan that includes: strength, skills, songs, scales and sight reading. Let students know to expect this format daily.
14. Cut some slack. Have a day of open practice. After lunch or holidays provide five minutes for visiting at the beginning of class. Insist that they get the visiting out of their system before you start. Circulate and greet everyone. Have their names taped onto the front of the guitar so you will never forget their name. Ask for student requests for recreational music making.
I'm sure there are more ideas that we can come up with and share, but these are the ones that have helped me the most. Best wishes and stay in touch.
Steve
Unfortunately, I do not think that 100% success, in the traditional proficiency/academic sense, is possible. I do feel that 100% success is possible if we redefine success.
1) all students expand their appreciation and enjoyment of music
2) all students have a positive view of music educators.
If we are open to the National Standards for Music Education it is possible to view "guitar class" as a "general music class" that happens to use the guitar as the primary vehicle for learning. Expanding the view of guitar class this way opens up possibilities for the educator to reach student who for physical, cognitive or emotional reasons will not "succeed" on the guitar.
There are numerous reasons for students who are disruptive, non-engaged, or unable to perform up to proficiency level. Some students have not developed mentally, physically or emotionally to succeed with guitar proficiency skill... but, they are interested in, and enjoy music. I believe there is a place for these students in guitar class. Even for the best musicians, at the beginning of their journey, there is a period of awkwardness. The instructor can help the student to move through this awkward period is by strongly encouraging self-acceptance and demonstrating respect and interest in the student as a whole person.
At my school, guitar class is part of a strategy for keeping students in school who might be at risk of dropping out. We are encouraged to practice differentiated educational techniques to serve the students' needs. I would recommend visiting with your principal to determine and explain the potential scope of the class.
In the field of music there are opportunities for people with many different talents. If guitar class is a "general music class" then there may be room for singers, percussionists, music historians, business people and so forth. One way to explore the breadth of music is to have a reading resource area in your room. I have a reading nook for students to sit that has piles of guitar magazines and books. If students don't have their guitar for a day or they need to be moved for discipline reasons, the reading nook provides a good solution.
In a disruptive situation (after one warning) I might say something like, "I am completely committed to the success everyone in this class and for the good of everyone you should move to the reading nook. I think you'll enjoy it. This is not a punishment, but an investment in your potential."
The following list are some short suggestions based on strategies that I have used.
1. Use The Montessori Approach - If you have access to practice rooms find a way for students to explore and experiment independently and in small groups. Encourage them to come to you as their consultant. This is student/up approach, in contrast to the teacher/down approach. You provide the space, encouragement, materials, and challenge questions - and the students do what they do best....learn through play. In some cases, students will learn better from their peers than from you. Work to develop student mentors and put them to work gaining teaching experience. This is a lesson learned from Montessori Education. If you don't have practice rooms, explore the possibility of the hallway, outdoors or other school space. These suggestions will not work with immature students, so move the mature students to the practice rooms and keep the immature ones withing arms reach.
2. Put students in charge of their grades - I tell my students that I grade on the low side, but that they are empowered to raise their grade at any time by performing for me music of their choice. The goal is to engage them on their terms. Sometimes the humorous western axiom "always ride a horse in the direction it's going" is appropriate.
3. Teach students the power of self-affirmation. With every test, my student not only give themselves a grade, but are required to write a self affirmation. I teach them the power of affirmation and provide them with some. I affirm that: they each are a miracle, they each are loved by me, they each make the school a better place, they each have a sparkle in their eye. Other good examples are: I am improving day by day, I will succeed, etc. I always enjoy reading the self-affirmations.
4. Provide reading and writing opportunities. Some students who can't play are excellent at reading and writing about guitar. Some who are great players have problems writing. Be encouraging to both groups. Provide art and drawing opportunities as a way to objectify ideas.
5. Communicate respect for the student and interviewing them interests and following their activities in sports, hobbies or other activities. Encourage students to contribute to class by bringing examples of music and suggestions. Beware - some suggestions are merely and attempt to avoid your curriculum. Don't fall for it.
6. Talk with parents, other teachers, guidance counselors and special education experts. Have a meeting with the student and other adults to demonstrate your unwavering commitment to developing their potential and respecting their individuality.
7. Do not be afraid to establish and maintain authority from day one. Remember the domino theory and never let things slide. Students must know that you are in charge and will assert authority. This includes the formal discipline referral to the principal/parent/guidance counselor. Use your guidance counselors for extra influence. Let the students know with out a doubt that you, not they, are in charge of the classroom.
8. Teach and expect "Peer Enforced Discipline". My students know that they have an important role in creating the classroom climate. They are expected not only to mentor skills but to defend their right to an education free from disruption.
9. Confront and Scold - At appropriate times, scold the student. Ironically, I have found that scolding can actually increase my bond with the student. Explicitly point out self-centeredness, immaturity, lack of respect for the teacher's efforts and other negative behaviors. Afterwards, one student described me like and uncle. He knew he was loved by my willingness to confront him.
10. Be Consistent- Don't let up, and don't accept disruptions. Explain that this is not out of mean-ness but out of unrelenting dedication to the student's success.
11. Use Proximity - Be able to move freely throughout the room. Sit on an elevated chair. Speak with a microphone. Stand tall and with authoritative posture (it's good exercise). Anticipate problems and speak in advance with students directly about your concern.
12. Provide a written list of expectations, behavior and procedures. Have students grade themselves on a scale of 1-4 on how well they are meeting these expectations. Describe negative personality traits such as being self-centered, disrespectful and immaturity. High school students hate the idea of being immature. Talk about and build on the idea of maturity. I can mail you a copy of my classroom management written tests if you send me your address.
13. Be Prepared - Let students know how the learning curve works and how you are guiding them. Minimize stopping and starting. Say "stop, mute and and rest" at the end of activities. Have a written lesson plan that includes: strength, skills, songs, scales and sight reading. Let students know to expect this format daily.
14. Cut some slack. Have a day of open practice. After lunch or holidays provide five minutes for visiting at the beginning of class. Insist that they get the visiting out of their system before you start. Circulate and greet everyone. Have their names taped onto the front of the guitar so you will never forget their name. Ask for student requests for recreational music making.
I'm sure there are more ideas that we can come up with and share, but these are the ones that have helped me the most. Best wishes and stay in touch.
Steve
Monday, March 17, 2008
Attaching Student's Names to Guitars
One of the best tools for classroom management that we have as teachers is to know student's names. A quick way to get started is to tape the names to the guitars where you can see them from your teaching location. Here's how you can do it without damaging the guitars: You need blue painter's tape, masking tape and a permanent marker. Cut a four inch piece of painter's tape and place it on your desk. Cut a piece of masking tape that is slightly smaller and place it on top of the painter's tape. Using the permanent marker, print the student's name on the masking tape in large letters so you can call on them from a distance. Take the tape off of your desk and place it on the guitar where you can see it.
The additional benefits of this process are that it helps students to learn each others names, and it discourages students from using guitars that are not theirs.
The additional benefits of this process are that it helps students to learn each others names, and it discourages students from using guitars that are not theirs.
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